Here is a screenshot of one bar of the original (attached).
Ken
On Fri, Nov 22, 2024 at 12:31 AM Thomas Scharkowski <
t.scharkow...@t-online.de> wrote:
>
>
> > Am 22.11.2024 um 03:09 schrieb Kenneth Wolcott >:
> >
> > Thanks, David.
> >
> > I think I finally found the answer in the manual (see
> Am 22.11.2024 um 03:09 schrieb Kenneth Wolcott :
>
> Thanks, David.
>
> I think I finally found the answer in the manual (see attached screenshot).
>
> \set Timing.beamHalfMeasure = ##f
>
> It seems to work.
>
> Thanks for putting up with my hysteria :-)
>
> Ken
>
Hi Ken,
in your exam
Hi David;
Thank you so much for the elaboration.
Ken
On Thu, Nov 21, 2024 at 7:25 PM David Wright
wrote:
> On Thu 21 Nov 2024 at 18:09:35 (-0800), Kenneth Wolcott wrote:
> > Thanks, David.
> >
> > I think I finally found the answer in the manual (see attached
> screenshot).
> >
> > \set Timi
On Thu 21 Nov 2024 at 18:09:35 (-0800), Kenneth Wolcott wrote:
> Thanks, David.
>
> I think I finally found the answer in the manual (see attached screenshot).
>
> \set Timing.beamHalfMeasure = ##f
That's certainly more compact, but I've not used it because I'm more
interested in avoiding long "
Thanks, David.
I think I finally found the answer in the manual (see attached screenshot).
\set Timing.beamHalfMeasure = ##f
It seems to work.
Thanks for putting up with my hysteria :-)
Ken
On Thu, Nov 21, 2024 at 5:57 PM David Wright
wrote:
> On Thu 21 Nov 2024 at 17:26:26 (-0800), Kennet
On Thu 21 Nov 2024 at 17:26:26 (-0800), Kenneth Wolcott wrote:
> Hi David;
>
> You have:
>
> #'() % beamExceptions
> \overrideTimeSignatureSettings
> 3/4 % timeSignatureFraction
> 1/8 % baseMomentFraction
> *2,2,2 % beatStructure*
>
> Would the following modification work?
>
Hi David;
You have:
#'() % beamExceptions
\overrideTimeSignatureSettings
3/4 % timeSignatureFraction
1/8 % baseMomentFraction
*2,2,2 % beatStructure*
Would the following modification work?
#'() % beamExceptions
\overrideTimeSignatureSettings
3/4 % timeSignatureFrac
Hi David;
The time signature is 3/4.
I'm still looking at the manual and now looking at your attachment.
Thanks,
Ken
On Thu, Nov 21, 2024 at 5:05 PM David Wright wrote:
>
> On Thu 21 Nov 2024 at 16:23:53 (-0800), Kenneth Wolcott wrote:
> > The "motif" is:
> >
> > dotted-quarter followed by
On Thu 21 Nov 2024 at 16:23:53 (-0800), Kenneth Wolcott wrote:
> The "motif" is:
>
> dotted-quarter followed by three eighth notes.
>
> Lilypond automatically engraves the eighth notes as a set of three.
That would be correct for a measure of 6/8 time.
> She wants it engraved so that the first
t; >
> > beams!
> >
> > On Thu, Nov 21, 2024 at 4:23 PM Kenneth Wolcott
> > wrote:
> > >
> > > Hi Lilyponders!
> > >
> > > I'm the "producer"; my wife is the "consumer".
> > >
> > > 3-8th notes
"; my wife is the "consumer".
> >
> > 3-8th notes, the first one by itself; two questions; what is this
> > called and how to do it?
> >
> > The "motif" is:
> >
> > dotted-quarter followed by three eighth notes.
> >
> >
Hi Lilyponders!
I'm the "producer"; my wife is the "consumer".
3-8th notes, the first one by itself; two questions; what is this
called and how to do it?
The "motif" is:
dotted-quarter followed by three eighth notes.
Lilypond automatically engraves the e
beams!
On Thu, Nov 21, 2024 at 4:23 PM Kenneth Wolcott
wrote:
>
> Hi Lilyponders!
>
> I'm the "producer"; my wife is the "consumer".
>
> 3-8th notes, the first one by itself; two questions; what is this
> called and how to do it?
>
> The &qu
Hi Dario,
Le 06/04/2022 à 22:46, Dario Marrini a écrit :
hi people, I tried to search for these into docs, but I found
everything but not what I needed, so, please, can you explain to me
what's the meaning of these notation kinds? :
*
_\p_ or _ \p _ ( I don't remember well), where 'p'
hi people, I tried to search for these into docs, but I found everything
but not what I needed, so, please, can you explain to me what's the meaning
of these notation kinds? :
-
_\p_ or _ \p _ ( I don't remember well), where 'p' is a dynamic mark
- [ a b c d ] (notes written between squar
Le 17/12/2021 à 14:28, Molly Preston a écrit :
Thank you this helped a lot! I couldn't find it under Tempo or Markup
and didn't notice MeteonomeMark.
Here is a general method to determine what the name of a grob is:
- Go to
https://lilypond.org/doc/v2.22/Documentation/notation/lilypond-comman
Thank you this helped a lot! I couldn't find it under Tempo or Markup and
didn't notice MeteonomeMark.
And I mistakenly forgot code for page turns under the paper block.
-Molly
On Wed, Dec 15, 2021, 14:47 Jean Abou Samra wrote:
> Le 15/12/2021 à 19:08, Molly Preston a écrit :
> > Hi again!
> >
On Thu, 16 Dec 2021 at 06:21, Molly Preston
wrote:
>
> Hi again!
>
> Does anyone have issues with \allowPageTurn? I put in two page turns in
my score, but it doesn't seem to be making them. What circumstances might
create this problem?
>
> Second question is:
>
> How do you move up a \tempo markin
Le 15/12/2021 à 19:08, Molly Preston a écrit :
Hi again!
Does anyone have issues with \allowPageTurn? I put in two page turns
in my score, but it doesn't seem to be making them. What circumstances
might create this problem?
Hard to tell without code. It may be not having
a bar line (you nee
Hi again!
Does anyone have issues with \allowPageTurn? I put in two page turns in my
score, but it doesn't seem to be making them. What circumstances might
create this problem?
Second question is:
How do you move up a \tempo marking"
\override TextScript.Y-offset = #2
\tem
Hi Urs,
Someone gave me this:
#(define-markup-command (path-draw-line layout props dest) (pair?)
#:category graphic
#:properties ((line-cap-style 'round)
(thickness 1))
(interpret-markup layout props
(markup
#:override `(line-cap-style . ,line-cap-style)
#:path
Am 08.03.2017 um 13:01 schrieb Andrew Bernard:
> Hi Urs,
>
> This is something I have asked before on the list. The summary is that
> it is not possible presently. What I had to do was take the low level
> code in question and modify the line-cap style and incorporate the
> modified code into my
Hi Urs,
This is something I have asked before on the list. The summary is that it
is not possible presently. What I had to do was take the low level code in
question and modify the line-cap style and incorporate the modified code
into my functions. Highly unsatisfactory, but it works.
Therefore,
Hi all,
I have one or two questions regarding the line-cap-style in LilyPond.
Is it possible to globally set the line-cap-style to 'square, affecting
all kinds of lines like ledger lines, stems, barlines etc.?
And specifically, is it possible to use the line-cap-style in a
(ly:make-st
On 10/7/2015 5:50 AM, Jacques Menu wrote:
Is that the kind of things you’re aiming at?
http://lilypondblog.org/2013/09/automatic-generation-of-scales-in-various-modes-for-all-21-pitches/
Exactly. Except I'm doing it manually, instead of programmatically,
since I think that will hel
Hello TM,
Is that the kind of things you’re aiming at?
http://lilypondblog.org/2013/09/automatic-generation-of-scales-in-various-modes-for-all-21-pitches/
JM
> Le 7 oct. 2015 à 05:24, T. Michael Sommers a écrit :
>
> On 10/5/2015 2:59 PM, Simon Albrecht wrote:
>> On 05.10.2015 11:33,
On 10/5/2015 2:59 PM, Simon Albrecht wrote:
On 05.10.2015 11:33, T. Michael Sommers wrote:
Hmmm. When I change from a key with sharps or flats in it to one with
no sharps or flats, the cancelling accidentals still appear. I can
understand that, since otherwise there would be no indication that
On 10/5/2015 12:58 PM, Noeck wrote:
Hi Michael,
Am 05.10.2015 um 11:33 schrieb T. Michael Sommers:
Hmmm. When I change from a key with sharps or flats in it to one with
no sharps or flats, the cancelling accidentals still appear. I can
understand that, since otherwise there would be no indica
>
> { \key as \minor ces \key c \major c }
>
> How on earth would the performer know that the second one is a c natural if
> there is no key cancellation?
S/He wouldn't. Unless (and I quote)
> My application is not an actual score to be played by others, but just a
> cheat sheet for me,
Be
On 05.10.2015 11:33, T. Michael Sommers wrote:
Hmmm. When I change from a key with sharps or flats in it to one with
no sharps or flats, the cancelling accidentals still appear. I can
understand that, since otherwise there would be no indication that the
key had changed, but for my application
Hi Michael,
Am 05.10.2015 um 11:33 schrieb T. Michael Sommers:
> Hmmm. When I change from a key with sharps or flats in it to one with
> no sharps or flats, the cancelling accidentals still appear. I can
> understand that, since otherwise there would be no indication that the
> key had changed,
On 10/5/2015 5:33 AM, Robert Schmaus wrote:
I tried this:
\override Staff.KeySignature.break-visibility = ##(#f #t #t)
along with some variations, but it didn't seem to have any effect.
Also, I had used that formula in another situation (with the
TimeSignature, I think), and, although it remov
On 10/5/2015 5:13 AM, T. Michael Sommers wrote:
On 10/5/2015 3:42 AM, Robert Schmaus wrote:
Actually, so save you some time finding the relevant passages, your
... Q2 in section "Visibility of cancelling accidentals".
Thanks. I hadn't seen that while searching the manual.
Hmmm. When I chan
>
> I tried this:
>
> \override Staff.KeySignature.break-visibility = ##(#f #t #t)
>
> along with some variations, but it didn't seem to have any effect. Also, I
> had used that formula in another situation (with the TimeSignature, I think),
> and, although it removed the signature, it left
On 10/5/2015 3:42 AM, Robert Schmaus wrote:
Actually, so save you some time finding the relevant passages, your
... Q2 in section "Visibility of cancelling accidentals".
Thanks. I hadn't seen that while searching the manual.
--
T.M. Sommers -- tmsomme...@gmail.com -- ab2sb
__
On 10/5/2015 3:33 AM, Robert Schmaus wrote:
On 5 Oct 2015, at 09:16, T. Michael Sommers mailto:tmsomme...@gmail.com>> wrote:
I have a couple of questions about key signatures:
1) When a key change occurs at the end of a printed line, the new key
signature is printed at the end of the line. Is
Actually, so save you some time finding the relevant passages, your question 1
is answered in the section called "Using break-visibility", and Q2 in section
"Visibility of cancelling accidentals".
Best, Robert
__
Truth does not change according to our ability to stomach it.
-- Flannery O
Hi T.M.,
Check the Notation Reference, section 5.4.6 - you'll find the answers to your
questions there.
http://lilypond.org/doc/v2.18/Documentation/notation/visibility-of-objects
Best, Robert
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 5 O
I have a couple of questions about key signatures:
1) When a key change occurs at the end of a printed line, the new key
signature is printed at the end of the line. Is there any way to
suppress that?
2) When the key changes, the new key signature includes a bunch of
naturals to negate the
In 2.16, you just put the accidental style definition into the
layout block and that's it.
Alas, 2.16 is not in Debian as far as I know... I can live with a
global = {
#(set-accidental-style 'forget)
...
}
definition at the moment.
http://packages.debian.org/search?keywords=lilypond
g...@sdf.org writes:
>>>
In 2.16, you just put the accidental style definition into the
layout block and that's it.
>>>
>>> Alas, 2.16 is not in Debian as far as I know... I can live with a
>>>
>>> global = {
>>> #(set-accidental-style 'forget)
>>> ...
>>> }
>>>
>>> definition at th
In 2.16, you just put the accidental style definition into the layout
block and that's it.
Alas, 2.16 is not in Debian as far as I know... I can live with a
global = {
#(set-accidental-style 'forget)
...
}
definition at the moment.
http://packages.debian.org/search?keywords=lilypond
g...@sdf.org writes:
>>
>> Not in 2.14 IIRC. You can use \displayLilyMusic on music setting
>> the accidental style and see whether you can hand-translate this
>> into a layout definition.
>>
>
> This looks a bit too complicated to me at the moment; I started using
> LilyPond yesterday...
>
>>
>>
Not in 2.14 IIRC. You can use \displayLilyMusic on music setting the
accidental style and see whether you can hand-translate this into a
layout definition.
This looks a bit too complicated to me at the moment; I started using
LilyPond yesterday...
In 2.16, you just put the accidenta
g...@sdf.org writes:
>>
> \relative c'
> {
> \repeat unfold 32 { c4 g'8 g } \bar "|"
> \repeat unfold 32 { c4 g'8 g } \bar "|."
> }
>
> \layout {
> \set Score.defaultBarType = #""
> }
You should also choose your \accidentalStyle judiciously.
\relative c'
{
\repeat unfold 32 { c4 g'8 g } \bar "|"
\repeat unfold 32 { c4 g'8 g } \bar "|."
}
\layout {
\set Score.defaultBarType = #""
}
You should also choose your \accidentalStyle judiciously.
You mean, put "#(set-accidental-style 'voice)"?
No. The default accidental st
g...@sdf.org writes:
>>
>>> \relative c'
>>> {
>>> \repeat unfold 32 { c4 g'8 g } \bar "|"
>>> \repeat unfold 32 { c4 g'8 g } \bar "|."
>>> }
>>>
>>> \layout {
>>> \set Score.defaultBarType = #""
>>> }
>>
>> You should also choose your \accidentalStyle judiciously.
>>
>
> You mean, put "#(se
\relative c'
{
\repeat unfold 32 { c4 g'8 g } \bar "|"
\repeat unfold 32 { c4 g'8 g } \bar "|."
}
\layout {
\set Score.defaultBarType = #""
}
You should also choose your \accidentalStyle judiciously.
You mean, put "#(set-accidental-style 'voice)"? I don't think I need this
at the
\relative c'
{
\repeat unfold 32 { c4 g'8 g } \bar "|"
\repeat unfold 32 { c4 g'8 g } \bar "|."
}
\layout {
\set Score.defaultBarType = #""
}
Great! I'm using LilyPond 2.14.2 on Debian, so this has to be written as:
\layout { \context { \Score defaultBarType = "empty" } }
And the spa
David Kastrup writes:
> g...@sdf.org writes:
>
>>>
In other words, is there a way to combine the benefit of a \time
indication (which puts possible line breaks and "natural" ligatures
between the notes) with the benefit of a \cadenzaOn?
>
> \relative c'
> {
> \repeat unfold 32 {
g...@sdf.org writes:
>>
>>> In other words, is there a way to combine the benefit of a \time
>>> indication (which puts possible line breaks and "natural" ligatures
>>> between the notes) with the benefit of a \cadenzaOn?
>>
>> What about
>>
>> \time 1/4
>> \override Score.BarLine #'stencil = ##
Yes, I tried this, too. But it has two drawbacks:
(a) All the places where line breaks can occur must be indicated with
\bar "". This is a bit annoying, but it could be tolerable.
(b) What is far less tolerable is that, if I understand things
correctly, all the "natural" ligatures betwe
In other words, is there a way to combine the benefit of a \time
indication (which puts possible line breaks and "natural" ligatures
between the notes) with the benefit of a \cadenzaOn?
What about
\time 1/4
\override Score.BarLine #'stencil = ##f
or something similar??
This is indeed
On 1/05/2013, at 12:42 pm, g...@sdf.org wrote:
> Yes, I tried this, too. But it has two drawbacks:
>
> (a) All the places where line breaks can occur must be indicated with \bar
> "". This is a bit annoying, but it could be tolerable.
>
> (b) What is far less tolerable is that, if I understan
Hi
> In other words, is there a way to combine the benefit of a \time indication
> (which puts possible line breaks and "natural" ligatures between the notes)
> with the benefit of a \cadenzaOn?
What about
\time 1/4
\override Score.BarLine #'stencil = ##f
or something similar??
Hope this
I have two questions, to which I did not find an answer in the manuals;
I apologize in advance if they are answered there.
(1) I try to typeset choir music, on two staffs, without bars. Most
sentences are separated by breathes (one above each staff), but
sometimes an explicit *span* bar
g...@sdf.org writes:
> Hi list,
>
> I have two questions, to which I did not find an answer in the
> manuals; I apologize in advance if they are answered there.
>
> (1) I try to typeset choir music, on two staffs, without bars. Most
> sentences are separated by breathes
Hi list,
I have two questions, to which I did not find an answer in the manuals; I
apologize in advance if they are answered there.
(1) I try to typeset choir music, on two staffs, without bars. Most
sentences are separated by breathes (one above each staff), but sometimes
an explicit
> I suggest that the vertical spacing alrogithm should calculate the
> area between the objects (staves, systems, lyrics etc). See here
> how it would work: http://www.freeimagehosting.net/tsr21
Looks right: The area between horizontal skylines should influence the
spacing. However, I think we
On Wed, Mar 21, 2012 at 9:46 AM, Frank Steinmetzger wrote:
> On Sat, Mar 17, 2012 at 01:53:10PM -0700, Joe Neeman wrote:
>> There are two competing desires here [...]. Could you suggest, therefore, an
>> extra parameter (or a modification to the [vertical spacing] algorithm) that
>> would give yo
On Sat, Mar 17, 2012 at 01:53:10PM -0700, Joe Neeman wrote:
grrr... I _must_ remember to look to whom I send my replies; stupid mutt. I
answered only to Joe again. Here goes a second time:
> > Example #2, padding.png, shows a piece which has a large variation in
> > staff height, because there ar
On Mon, Mar 19, 2012 at 9:05 AM, Janek Warchoł wrote:
> On Sat, Mar 17, 2012 at 9:53 PM, Joe Neeman wrote:
> > There are two competing desires here: you want the systems to be spaced
> > more-or-less evenly (ie. with a similar amount of space between the
> staves),
> > and you want the white spac
On Sat, Mar 17, 2012 at 9:53 PM, Joe Neeman wrote:
> There are two competing desires here: you want the systems to be spaced
> more-or-less evenly (ie. with a similar amount of space between the staves),
> and you want the white space between the systems to be more-or-less uniform.
> Currently, we
On Sat, Mar 17, 2012 at 1:31 PM, Frank Steinmetzger wrote:
>
> Example #2, padding.png, shows a piece which has a large variation in staff
> height, because there are either two lines of lyrics to a staff or none at
> all. As lilypond tries to keep an even system-system-distance, the result
> is
Frank Steinmetzger gmx.de> writes:
> [...] However, this is one of the cases where it leads to a lot of
> empty room between system. What would be a good way to make the
> overall appearance a bit lighter by un-squeezing the systems?
>
> Essentially, I would like to make the basic line height
On Sat, Mar 17, 2012 at 9:31 PM, Frank Steinmetzger wrote:
> The first one, lyrics.png, shows a page created by both 2.12 and 2.14. Thanks
> to the smaller space between a staff and its lyrics, the systems now become
> less high. This is often a good thing, as it allows to get more on a page.
>
> 1. Title pages: If I want to set page number to -1 to start the music at
> the second piece of paper, how can I force the number 0 to hide at the back
> of title page?
Do this (which works great for me in the 2.12 versions). You will
need to modify the code if you don't want the page numbers
On Tue, Sep 14, 2010 at 1:31 PM, Jan Nieuwenhuizen
wrote:
>
> It does, however, give a nice opportunity for interesting release
> messages/names, eg: ``we proudly present you lilypond 2.13.34 aka the
> "all spacing goes fubar" release. The good news is that 4 bugs
> were fixed.''
I've repeatedly
Op dinsdag 14-09-2010 om 13:06 uur [tijdzone +0100], schreef Graham
Percival:
> 2010/9/14 胡海鹏 - Hu Haipeng :
> > PS. I'm totally frustrated with the latest versions of devel, whose spacing
> > is becoming stranger and stranger.
>
> This is why I have announced, for EVERY SINGLE devel release, that
Hello,
I have two questions about title pages and prefaced pages. Perhaps they are
in the manuals, but I can't find them at this time.
1. Title pages: If I want to set page number to -1 to start the music at the
second piece of paper, how can I force the number 0 to hide at the ba
2010/9/14 胡海鹏 - Hu Haipeng :
> PS. I'm totally frustrated with the latest versions of devel, whose spacing
> is becoming stranger and stranger.
This is why I have announced, for EVERY SINGLE devel release, that
normal users should NOT be attempting to use the unstable releases.
Ignore those warnin
On 13/07/10 11:51, Nick Payne wrote:
This ossia just extends for part of a bar:
<< { g'32_( fis) e_( fis) }
\new Staff \with {
alignAboveContext = #"guitar"
fontSize = #-4
\override StaffSymbol #'staff-space = #(magstep -4)
\override StaffS
This ossia just extends for part of a bar:
<< { g'32_( fis) e_( fis) }
\new Staff \with {
alignAboveContext = #"guitar"
fontSize = #-4
\override StaffSymbol #'staff-space = #(magstep -4)
\override StaffSymbol #'thickness = #(magstep -4)
Thanks. That gets the result I wanted.
Nick
-Original Message-
From: Jonathan Kulp [mailto:[EMAIL PROTECTED]
Sent: Tuesday, 16 September 2008 23:36
To: Nick Payne
Cc: lilypond-user@gnu.org
Subject: Re: Two questions about fingering indications
Hi Nick,
I saw that someone else answered
produces exactly what I understand you're looking
for - without writing any *!*!
hth
-Eluze
--
View this message in context:
http://www.nabble.com/Two-questions-about-fingering-indications-tp19507028p19512876.html
Sent from the Gnu - Lilypond - User mailin
Hi Nick,
I saw that someone else answered the second question about the
b-naturals (just be sure to remove the ! from both voices).
Here's a quick fix for the right-hand fingering that will work for this
example, but it's kind of crude and not overly flexible. To position
individual fingeri
7; {
c4 c | % 1
b! b | % 2
d d | % 3
}
and it should work.
Kind regards,
Jan van Dijk.
Van: [EMAIL PROTECTED] namens Nick Payne
Verzonden: di 16-9-2008 14:51
Aan: lilypond-user@gnu.org
Onderwerp: RE: Two questions about fingering indications
Jon
Than
On 16.09.2008, at 14:51, Nick Payne wrote:
Jon
Thanks for the reply. However, I just removed the natural from the
2nd b in
bar 2 and I still get a natural appearing in the output on both b.
Bar 3 also contains two b naturals, so I added that bar with a
natural only
on the 1st b and only
Hi Nick,
I don't have time to investigate the fingerings at the moment, but I can
tell you quickly that the natural on the second b is there because you
specified it with the !. Any time you put the ! it forces lilypond to
show an accidental. Just take it out and you'll solve that problem.
I have the following code (it's the first couple of measures of Barrios'
prelude in C minor). Firstly, with the RH fingering, some of the indications
appear above the beam and some below, depending on where on the stave each
note is located. How can I get them to all be above the beam? Secondly, wi
Werner LEMBERG wrote:
Since I don't use Windows, please answer his questions.
Werner
Dear Werner:
There are two additional questions. First, what's the difference
between Lilypad-ascii.exe and Lilypad-unicode.exe? If I edit Chinese
characters in the unicode version, will the output
> From: hhpmusic <[EMAIL PROTECTED]>
>
>
> There are two additional questions. First, what's the difference between
> Lilypad-ascii.exe and Lilypad-unicode.exe? If I edit Chinese characters in
> the unicode version, will the output fonts be embedded?
Of course not. Any unicode-aware text edit
Since I don't use Windows, please answer his questions.
Werner
--- Begin Message ---
Dear Werner:
There are two additional questions. First, what's the difference between
Lilypad-ascii.exe and Lilypad-unicode.exe? If I edit Chinese characters in the
unicode version, will the output fonts
Thanks for the further hints.
> Michael O'Donnell wrote:
>> Thanks to Mats for this tip, which also helps me with a similar
>> project (I'm trying to set some old mensural notation just as given
>> by the 15th century copyist, who has somewhat different conventions
>> from those in LilyPond).
>>
>>
Michael O'Donnell wrote:
Thanks to Mats for this tip, which also helps me with a similar
project (I'm trying to set some old mensural notation just as given by
the 15th century copyist, who has somewhat different conventions from
those in LilyPond).
So, I managed to set some triangular head
great.
For the future, it would be great to have a user-settable list of
noteheads for each duration as a parameter.
Cheers,
Mike O'Donnell
http://people.cs.uchicago.edu/~odonnell/
From:
Mats Bengtsson
Subject:
Re: Two questi
The basic principle is the same as is described in the section on Polymetric
notation. For example, you can do:
\version "2.10.0"
mynotehead = \markup{\musicglyph #"scripts.turn" }
\score {
\relative c''{
a
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override
Mats Bengtsson ee.kth.se> writes:
>
> Quoting Peter Budny mail.gatech.edu>:
>
> > 2) Can you set a custom symbol as a note head?
>
> There are many shapes to choose from in LilyPond, see the section called
> Special noteheads in the manual.
I should have been more clear... I meant a complete
Quoting Peter Budny <[EMAIL PROTECTED]>:
1) Is it possible to remove the note head for just a single note in a line? I
still want the stem and all, just not the note head, and only for one note.
See the section called Common Tweaks for instructions on how to make
something invisible. The layou
1) Is it possible to remove the note head for just a single note in a line? I
still want the stem and all, just not the note head, and only for one note.
2) Can you set a custom symbol as a note head?
___
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Graham Percival wrote:
On 12-May-06, at 10:33 AM, Stan Mulder wrote:
But when the parts are transposed the slashes move all over the place
for the Bb and Eb instruments. Is there are way to keep the slash
exactly on a certain note and ignore the transposition?
As it happens, this is part of
Graham Percival wrote:
On 12-May-06, at 10:33 AM, Stan Mulder wrote:
But when the parts are transposed the slashes move all over the place
for the Bb and Eb instruments. Is there are way to keep the slash
exactly on a certain note and ignore the transposition?
I was about to ask the same q
On 12-May-06, at 10:33 AM, Stan Mulder wrote:
But when the parts are transposed the slashes move all over the place
for the Bb and Eb instruments. Is there are way to keep the slash
exactly on a certain note and ignore the transposition?
As it happens, this is part of an example in 9.2.6 Def
Let me try posting this again. Previously post got attached to another
thread...
I've read the archives and see people discussing this but not sure
anything was decided. I'm writing a jazz lead sheet and need slashes
with chords over them. It's the slashes that I'm having a problem with.
I fo
I've read the archives and see people discussing this but not sure
anything was decided. I'm writing a jazz lead sheet and need slashes
with chords over them. It's the slashes that I'm having a problem with.
I found that I could use the following:
\override NoteHead #'style = #'slash
\override
On 30-Dec-05, at 7:10 PM, Jay Hamilton, Sound and Silence wrote:
Graham- I didn't upgrade, and I did add a few lines of rests before it
stopped compiling. I get nothing , no error no command box nothing.
This is odd; at the very least it should spit out a "segfault" or
something.
That's
Graham- I didn't upgrade, and I did add a few lines of rests before it
stopped compiling. I get nothing , no error no command box nothing.
That's why I asked the question. I'll try to go back and delete the
added material until it will compile and start from there.
Below is the file the pdf
On 29-Dec-05, at 7:28 PM, Jay Hamilton, Sound and Silence wrote:
v.2.6.4
winxp
I have a 1200 line file (so far) and it was compiling in 2 minutes or
less and now it has begun not to compile at all. Is there something I
can look for that would explain this without submitting the entire
file?
v.2.6.4
winxp
I have a 1200 line file (so far) and it was compiling in 2 minutes or
less and now it has begun not to compile at all. Is there something I
can look for that would explain this without submitting the entire file?
Secondly
I just entered a series of 2 measure exercises (guitar/Gi
"
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> Sent: 15 October 2004 14:24
> To: Ralph Little
> Cc: [EMAIL PROTECTED]
> Subject: Re: two questions
>
>
> For some reason, LilyPond creates new contexts for each of the
>
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